Make 96 years born the singer and composer Alberto Marino, “The golden voice of tango” (26 April 1923 – 21 June 1989).

By Ricardo García Blaya

Real name: Marinaro, Vicente
Pseudonymous / s: The golden voice of tango / Lino Marcos
Singer and composer
(26 April 1923 – 21 June 1989)
Place of birth: Verona, Italy

As a friend of mine said "Marino Alberto is a luxury for the tango". This exaggeration obeyed, surely, his tenor and the influence of the Italian school of singing that although had several tango vocalists, in the case of Tano Marino it generated the feeling that he had plenty voice to the challenge presented to him letters.

He went from an acute potent deep bass with ease of elected, He possessed an unmistakable vibrato but which did not abuse.

his detractors, While acknowledging their ability, him saying it was cold and lacking an undertone.

The truth is that the great director Alfredo Gobbi dubbed him "The golden voice of tango".

He debuted as a singer orchestra 1939 singing in the Emilio Balcarce using the pseudonym Alberto Demari. When Emilio Orlando takes the direction of the orchestra the singer changed his stage name and finally will take for his entire career: Alberto Marino.

Bandoneon player Aníbal Troilo heard him sing and makes him an offer to join his group. Marino already had an agreement to go to the orchestra Rodolfo Biagi, but accepts the offer of Troilo with whom he served from 1943 until 1947.

For many it was the best time of cantor, their versions of the tangos "Three Amigos", "We went" and "may be your voice" are true gems, among many others, its contribution to the history of tango.

After this successful stage he decided to start his solo career. He directed his first orchestra violinist Emilio Balcarce, the same who had started in 1939. Later he is going to take over his orchestra bandoneon player Enrique Alessio and later the Uruguayan musician Héctor Artola.

In this period they include his recordings of tangos "The reason [poor paica]”, "Farolito de papel" (with the original lyrics, in lunfardo) and "Revenge" a Brazilian samba tango arranged in time.

By the end of 1949 changes the accompaniment by the guitar ensemble of Roberto Grela, recording for the Odeon label. The singer and guitarist will meet again to 1959, leaving records of this new union.

In the fifties it will continue its intense activity with numerous orchestras such as: Hugo Baralis, Osvaldo Manzi, Alfredo De Franco.

Also in that decade it makes numerous tours throughout Latin America and the United States with clusters of Edelmiro D'Amario and César Zagnoli, among other.

In the sixties it is accompanied by the guitar ensemble of José Canet and records 12 records. As a curiosity we can mention the samba version of "La López Pereyra" in time of tango.

In the late sixties and during the seventies he continued to work uninterruptedly with high-level orchestras such as Miguel Caló, Armando Pontier, Carlos Garcia, Osvaldo Requena, Alberto Di Paulo, leaving in most cases recorded records.

No longer had the tenor, but he continued as shining like a baritone eximio.

He was an admirer of Gardel and Charlo, but when you asked about who influenced his words and phrasing, unfailingly replied: Antonio Rodriguez Lesende. Cantor little known, whose recordings are very hard to find and numbering about sixteen registers. He recorded with orchestral accompaniments of the importance of Antonio Bonavena, Ricardo Brignolo, Típica Brunswick, Carlos Di Sarli and Edgardo Donato.

Alberto Marino went suddenly, still with the whole throat, leaving a lasting impression on all who admire the brilliance and sonority of his golden voice.

Source: todotango.com